PodBill Just what I expected

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

jacobs-greenwood Bette Davis is a serious literary writer who's enjoyed mild success. She returns to her hometown to visit her childhood friend, played by Miriam Hopkins, who's married to John Loder. Hopkins's character yearns for a life of her own, outside of the trappings of her husband and daughter, and is inspired by her friend's visit to try and get her trashy romance novel published. Davis helps her out and, of course, Hopkins becomes a big success, much to the chagrin of Davis and her now neglected husband Loder.Years later, Davis is dating Gig Young, whom she thinks is about to propose to her but who has actually now fallen for Hopkins's daughter Dolores Moran. Hopkins's character wants to reconcile with her own estranged husband Loder, who is uninterested but does seem attracted to Davis's worldly sophistication. The career woman Davis gets an opportunity to be a martyr as she allows Young to pursue Moran, and then a savior for Moran, who almost makes a mistake with Philip Reed's character.Anne Revere plays a writer who figures out the relationship between the two women and more. My favorite exchange in this film (filled with great lines) is when Revere's character comments to Davis's that "at least when you (Davis) publish a book, it's a good thing, and not like grinding out some sausage." She then recognizes that Hopkins's character (to whom she was obviously referring) has overheard and (embarrassed) says "maybe I should just slit my throat" to which Hopkins, not missing a beat, replies "well, there's a knife on that table over there".Roscoe Karns also appears as a reporter; Esther Dale plays Davis's longtime maid and confidant.One of the things that makes this film so enjoyable is the on screen loathing between Davis and Hopkins, no real friends off the screen either, though they share a great final, "reconciliation" scene together - the derivation of the film's title.Directed by Vincent Sherman, this John Van Druten play was converted into a screenplay by Van Druten and Lenore Coffee. Later remade as Rich and Famous (1981) with Candice Bergen and Jacqueline Bisset.

dbdumonteil Davis admitted to enjoying very much a scene in "Old Acquaintance" in which she shakes Hopkins hard.(Wikipedia).She also wrote that her co-star (with whom she also made "the old maid") felt insecure and that there was a good dose of rivalry between her and "Millie" .As the story is thoroughly the depiction of a rivalry (as writers,as lovers and even as mothers -Kit is also Deirdre's mom in her heart ),everything works out fine.The first sequences may be deceptive :Kit appears as the superstar with a fan club in her friend's home town and people are led to believe that she's got an inflated ego and that good housewife Millicent has done the right choice.But actually the desperate housewife is eaten with envy and she too wrote a book (Harlequin romance style).Time will show the wiser although the last sequence tends to show that,all in all,friendship survives everything ..

moonspinner55 Chatty, entertaining and well-acted drama with comedic trimmings has lifelong friends Bette Davis and Miriam Hopkins both becoming writers: Davis, the literary authoress who charms the critics but can't score a bestseller; Hopkins, the fluttery, popular novelist of romantic fiction. Director Vincent Sherman does a good job at bringing this all to a boil, and yet there's too much breathless soap opera packed into the last act (the fault of the screenwriters, working from a play) and it eventually becomes fatiguing. Still, Hopkins does a high-wire act with her performance that is quite nimble (she's pitched very high but is never grating). Davis starts off very fresh and natural, but as her character ages and becomes glamorously middle-aged, Bette's affectations and mannerisms tread a self-parody; she's good throughout the film, yet one longs for more of that earthy quality she displays in the film's first hour. A fine "woman's picture" nevertheless, with some unusually good dialogue and well-paced sequences. *** from ****

Michael Bragg Bette Davis really has her hands full in Vincent Sherman's 1943 gem, in which she battles it out with an "Old Acquaintance". The woman vs. woman war, so prominent in the films of the 1930s, '40s and '50s, gets some serious ammunition with this classic film. As excellent as it is, it is unfortunately not available on VHS/DVD, nor does it get the recognition bestowed upon many of Davis' other, and dare I say, lesser movies.Davis plays writer Kit Marlowe, a woman who is unable to find true happiness as she selflessly puts the needs of her childhood friend, Milly(Miriam Hopkins), ahead of her own desires. Milly, a self-absorbed, insecure - even childlike - housewife is constantly in competition with Kit. As the two woman have successes over the years, their friendship endures strains, but never totally collapses. The battle between them even extends to Milly's teenage daughter(Dolores Moran)during the later years of their lives.Davis nails the cattiness, insecurity and self-effacing humor that embodies Kit. Hopkins also succeeds as Milly. Even though Milly's self-destructive jealousies border on tedious and Hopkins almost succumbs to over-acting, Hopkins manages to pull back the reigns just in time. As good as "Old Acquaintance" is, however, there are moments that just don't ring true. For example, why wouldn't a teenage Deirdre(Moran)recognize her own father(John Loder), even if she hadn't seen him in a decade? Surely she would have seen a photo or had a faint memory. Despite that, though, this is a great classic just waiting to be restored and released. Fine writing, classic lines, smooth direction and stellar performances are what drive this film. One of Davis' finest and a shining entry into the women's genre.